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...when he and other young artists were rebelling against the prevailing mode of abstract expression. Samaras' way of celebrating the long-ignored object was to summon up his disturbing Macedonian memories. Matchbook and spectacles, in a 1962 ink drawing, were depicted with the stark frontality of a Byzantine icon. Samaras also created silvery, pin-encrusted books and boxes that suggested silver reliquaries. They were packed with knives and razors, nails, stuffed birds and X rays of skulls trepanned by pins, together with photos of Samaras...

Author: /time Magazine | Title: Sculpture: Forbidden Toys | 9/20/1968 | See Source »

Spanish colonists, American Indians and African-descended slaves used effigy and icon as a part of their religious rituals. In San Antonio, Girard displays pre-Inca dolls found inside burial shrouds, Christian saints and angels, Haitian voodoo fertility symbols. Among the tableaux that most colorfully mix the half-Christian, half-pagan customs are those depicting All Souls' Day (Nov. 2), a festival celebrated in Latin America as a cheerful holiday for the dead...

Author: /time Magazine | Title: Art: Village Witchery | 7/19/1968 | See Source »

...heeled shoes and the upholstery against which they nestle are all an ugly, and yet powerfully nostalgic, Victorian shade of brown. The mordancy of this color and the wistfulness of the girls' expressions save them from what would otherwise be a cloying coyness. Each girl becomes both an icon of seduction and, at the same time, a sly satire of all she suggests...

Author: /time Magazine | Title: Sculpture: Epoxy Playmates | 11/24/1967 | See Source »

...illustrators or in publishing houses. Their paintings are frequently primitive, but often by design as well as accident, since many of them are familiar with the work of French Brutalist Jean Dubuffet and Mexican pre-Columbian art. Above all, they hark back to the powerful, stylized tradition of Russian icon painting that flourished between the 15th and 17th centuries...

Author: /time Magazine | Title: Painting: Unrealism in Moscow | 6/30/1967 | See Source »

Haile Selassie combats his mounting loneliness with travel and personal diplomacy, and his slight (5 ft. 4 in., 100 Ibs.) figure, topped by a face like a Byzantine icon, has become familiar to millions around the world. Last week he came to the U.S. to tell Lyndon Johnson about the problems of Ethiopia, a Christian country flanked by Moslems. The Somali Republic, a new (1960) Moslem nation on his eastern border, has laid claim to much of his land, and has backed up the claim with Russian arms and terrorist raids. One of Haile Selassie's principal aims...

Author: /time Magazine | Title: Ethiopia: Lonely Emperor | 2/24/1967 | See Source »

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